Purpose Royal Opera House Annual Review 2006/07 Purpose The Royal Opera House is the Royal Opera House home of three world class performing companies – The Royal Ballet, The Royal Opera, and The Orchestra Annual Review 2006/07 of the Royal Opera House. It is a focal point for national and international artistic excellence, where the evolving traditions of opera and ballet are taken to the highest levels. In its iconic building, renowned stars and rising talent inspire diverse audiences from around the world. Excellence without compromise.Open to all. A progressive tradition.This is the Royal Opera House. Governance and Management The direction and control of the Royal Opera House is determined by the Board of Trustees, which meets at least seven times per year. The role of the Board is to approve and monitor the strategy of the Royal Opera House and ensure that it is being effectively managed. The Trustees are also responsible for the appointment of the Chief Executive, as well as the most senior management positions. The Chief Executive, with the assistance of the Executive Team, manages the day-to-day operations of the Royal Opera House. Royal Opera House Annual Review 2006/07 01 Table of contents Board of Trustees Amanda Saunders – Director Dame Judith Mayhew Jonas – of Development Contents Chairman John Seekings – Director The Countess of Chichester of Operations and Sir David Clementi Company Secretary Marco Compagnoni The year at a glance page 02 Peggy Dannenbaum Finance and Audit Committee Sir David Lees Sir David Lees – Chairman Chairman’s statement page 06 Sir Frank Lowe Dame Judith Mayhew Jonas Thomas Lynch Thomas Lynch Chief Executive’s report page 10 Professor Margaret Maden Simon Robertson Nicholas Prettejohn Nicholas Prettejohn page 15 Simon Robertson Sir David Clementi Voices of Value Simon Robey Simon Robey Dame Gail Ronson Part 1 page 17 The Lady Sainsbury Remuneration Committee Quality Kenneth Tharp Dame Judith Mayhew Jonas – Judith Weir Chairman Part 2 Scope page 37 Sir David Lees Executive Management Team Thomas Lynch Tony Hall – Chief Executive Sir David Clementi Part 3 Participation page 57 Monica Mason – Director, The Royal Ballet ROH2, Education page 73 Antonio Pappano – Music and Access Committee Part 4 Enrichment Director, The Royal Opera Professor Margaret Maden – Deborah Bull – Creative Chairman Part 5 page 85 Director, ROH2 Dame Judith Mayhew Jonas Innovation Caroline Bailey – Kenneth Tharp Director of Marketing Peggy Dannenbaum Part 6 Finance page 97 Elizabeth Bridges – Judith Weir Director of Personnel The Lady Sainsbury Ruth Jarratt – Director Part 7 Reference page 108 of Policy Development Nominations’ Committee Peter Katona – Director Dame Judith Mayhew Jonas – of Opera Casting Chairman Sarah Kemp – Director Sir David Lees of Finance and Business Affairs Simon Robertson Christopher Millard – Thomas Lynch Director of Press and Professor Margaret Maden Communications John Mortlock – Deputy Development Committee Director of Finance Simon Robertson – Chairman Elaine Padmore – Michael Bienes Director of Opera David Brownlow Hazel Province – The Countess of Chichester Orchestra Director Marco Compagnoni Paul Reeve – Director Peggy Dannenbaum of Education Thomas Lynch Anthony Russell-Roberts – Simon Robey Administrative Director, Dame Gail Ronson The Royal Ballet Bernard Taylor Sir Brian Williamson Lady Young of Graffham 02 Royal Opera House Annual Review 2006/07 03 The year at a glance Performance Reach 293 9600+ performances on children attended the main stage our schools’ matinees 274 4815 performances Paul Hamlyn Club on other stages tickets sold 613,000 80,000+ people attended people saw the Dancing performances Through The War exhibition 04 Royal Opera House Annual Review 2006/07 05 The year at a glance Access Finance 7th £2+ successive season, half raised for every £1 of all tickets, for every received as public subsidy performance, cost £50 or less* 8th 13,500 successive balanced result students registered for £10 Student Standby tickets £11m+ generated by online 45% ticket sales of patrons were new to the ROH * Excluding The Ring performances 06 Royal Opera House Annual Review 2006/0707 Chairman’s statement Chairman’s statement Whenever I pause to reflect on a year at the Royal Opera House, I frequently find myself surprised at just how much has been offered on our stages, and how many things have been achieved. So much goes on in addition to The Royal Ballet and The Royal Opera’s productions in the main auditorium, which is wonderful. What underpins the ability of the Royal Opera House to produce such rich, diverse work is the support of individuals, companies, Trusts and Foundations who give their time, effort and money to our enterprise. But financial durability, the prerequisite for any serious artistic institution, also requires vision: the ability to see what needs to be done, and how to do it, so that today strengthens tomorrow. It is this marriage of an accomplished executive management team to “To me, there is no better opera an array of unwavering supporters that permits house anywhere in the world. It is the the Royal Opera House to set a unique level of excellence in everything that it does. fusion of the dedication of staff and I am delighted to be able to report the supporters that makes this a reality.” acquisition of Opus Arte, the renowned classical music and dance DVD-production and distribution company. It was bought through the use of a special fund of accumulated reserves, held by the Judith Mayhew Jonas Trustees of the Royal Opera House for the sole Chairman purpose of capital and infrastructure projects. This is the first time that any opera house in the world has acquired a proprietary production company of this nature. Tony Hall and his Executive Team have demonstrated considerable ambition in their business strategy by securing this major acquisition. Sarah Kemp and the digital strategy team played a pivotal role in this transaction and I thank them for their efforts. 08 Royal Opera House Annual Review 2006/0709 Chairman’s statement A further layer of significant financial support a whole was augmented by Sir Donald Gordon’s has been added by the most generous donation generous contributions. Access was widened of £10 million towards the establishment of yet again, in numerous ways, by people and a permanent Paul Hamlyn Education Fund, organizations committed to opening our stages within the Royal Opera House Endowment to everyone. Paul Hamlyn Performances and Fund. This was a major achievement by the Paul Hamlyn Club, BP Summer Big Screens, Chief Executive and Director of Development Legal & General Schools’ Matinees, Travelex £10 and a major act of generosity by the donor. To Mondays and Travelex Student Standbys, and the commemorate this exceptional contribution, Robey Family’s backing of Open House initiatives, the Floral Hall has been re-dedicated the Paul have all helped more people than ever to enjoy Hamlyn Hall. The endowment will energize the our work. work of ROH Education for generations to I would like to thank the people whom I come, and marks a major step towards our five - sit alongside - my colleagues on the Board and year objective of increasing the Royal Opera House Development Committee. Their unstinting support Endowment Fund to £50 million. of all that we do and aspire to, the enormous I would like to offer my heartfelt thanks to our assistance they give to our Development varied and generous supporters who, year in, year Department, and the sound business acumen out, make possible so much that happens here. and vision they bring to achieving our objectives, Opera received a considerable boost with the aid is invaluable. I would also like to thank Tony of Peter Borender, The Hobson Charity, and Hall, Monica Mason, Antonio Pappano and the The Dalriada Trust on The Ring, and Coutts & Co Executive Team for their leadership and dedication. on Tosca. It was given further support by The The backing of Arts Council England and Genesis Foundation and Hélène and Jean Peters. the DCMS continues to enable the Royal Opera Dance and ballet, in all its varied forms at the House to be a place whose reputation is something Royal Opera House, was empowered by a long that this country can be proud of. Our gratitude list of philanthropists: Dianne and Michael for this cannot be measured. Bienes, The Dalriada Trust, The Friends of To me, there is no better opera house anywhere Covent Garden, our Trust Members, Marina in the world. It is the fusion of the dedication of Hobson MBE, Huntswood, The Blavatnik Family staff and supporters that makes this a reality. This Foundation, the Estate of Dr John Hayes, The has been a landmark year for the Royal Opera Jean Sainsbury Royal Opera House Fund, The House and the groundwork has been laid for even Royal Opera House Endowment Fund, Tamar greater success. It is very gratifying to be part of and Bob Manoukian, Mr and Mrs Alec Reed, and that process. Simon and Virginia Robertson. Together, they facilitated a staggering wealth of contrasting Judith Mayhew Jonas productions and work. Our Jette Parker Young Chairman Artists were bolstered by the continuing support of the Oak Foundation, and our organization as 10 Royal Opera House Annual Review 2006/0711 Chief Executive’s report Chief Executive’s report To my mind there is no more exciting moment than the few seconds when the house lights go down and the curtain is about to go up. Preparing for that moment makes extraordinary demands on people and necessitates exceptional levels of skill and commitment, in a breathtaking range of disciplines. When audiences watch a production at the Royal Opera House they have an expectation that what they see will be genuinely outstanding, something completely beyond the ordinary. Thanks to the work of our artists and all of our staff, in myriad roles, who support them, I believe we deliver on that expectation night after night.